Audio production tools typically require a large amount of manual input and intervention from mixing engineers. In order to create a complex audio soundscape in an audio or audiovisual product, a mixing engineer has to painstakingly perform a large number of detailed manipulations, often through many iterations. It is difficult and nearly impossible to apply these audio production tools with the associated time-consuming manual operations to live events in which sound emitters, along with their locations and characteristics, may not be known ahead of time.
Even if manual operations performed in non-live offline audio production studios could be transplanted in audio production for live events, a significant number of errors, inaccuracies, inconsistencies, etc., in timing, sound emitter positioning, sound effects, etc., would be inevitably introduced.
The approaches described in this section are approaches that could be pursued, but not necessarily approaches that have been previously conceived or pursued. Therefore, unless otherwise indicated, it should not be assumed that any of the approaches described in this section qualify as prior art merely by virtue of their inclusion in this section. Similarly, issues identified with respect to one or more approaches should not assume to have been recognized in any prior art on the basis of this section, unless otherwise indicated.